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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.
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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
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Berti, Orlando Maurício de Carvalho. "EXTENSÃO E QUESTÕES COMUNICACIONAIS SOCIAIS: o caso do curso de Fotografia, Feminismo e Mulheres Diversas da Universidade Estadual do Piauí." Revista Observatório 5, no. 4 (July 1, 2019): 258–79. http://dx.doi.org/10.20873/uft.2447-4266.2017v5n4p258.
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Este artigo reflete sobre o caso do curso de extensão em Fotografia, Feminismo e Mulheres Diversas, mediado pela Universidade Estadual do Piauí (Uespi), por meio da Pró-reitoria de Extensão, Assuntos Estudantis e Comunitários. O curso é uma provocação dos movimentos sociais e estudantis ligados aos feminismos para refletir, por meio de imagens, sobre as questões ligadas às mulheres no Estado do Piauí. O trabalho descreve, retrata e analisa os resultados do curso, entre polêmicas, discriminações e consequências. Destaca-se, metodologicamente, uma abordagem qualitativa, por meio de estudo de caso, com relato de atividades práticas e sociais. O curso contou com a participação de militantes sociais, membros da comunidade em geral, além de membros dos corpos discente e docente da instituição, mulheres e homens. Os trabalhos do curso culminaram com cinco exposições fotográficas, com quase 400 fotografias (entre as mais de 15 mil feitas nas atividades práticas) que devem circular o Estado do Piauí e ajudar a desmitificar as questões relacionadas ao feminismo e a esclarecer sobre a importância da discussão dessa temática.
PALAVRAS-CHAVE: Comunicação Social; Extensão universitária; Feminismos; Fotografia; Universidade Estadual do Piauí.
ABSTRACT
This article reflects about the Extension in Photography, Feminism and Various Women course case, mediated by Universidade Estadual do Piauí (Uespi), through Extension, Students’ and Community Affairs Pro-rectory. The course is a provocation of social and student movements connected to feminism for reflections, through images, on questions linked to women on Piauí State. The work describes pictures and analyses the course consequences, among discussions, discriminations, and consequences. Methodologically, it stands out a qualitative approach, through a case study, with a report of practical and social activities. The course relied on the participation of social activists, members of the community in general, and members of the student and teaching staff from this institution, among men and women. The works of this course culminated in five photographic exhibitions, with almost 400 photographies (amongst more of 15,000 made on practical activities) which may move around Piauí and help to demystify the questions related to feminism and to enlighten about the importance of discussions on this subject.
KEYWORDS: Social communication; University Extension; Feminism; Photography; Universidade Estadual do Piauí.
RESUMEN
Este artículo refleja acerca del caso del curso de Extensión en Fotografía, Feminismo y Mujeres Diversas de responsabilidade por la UESPI – Universidad Estatal de Piauí – a través de la Pro-rectoría de Extensión, Asuntos Estudiantiles y Comunitarios. El curso es una provocación de los movimientos sociales y estudiantiles ubicados a los feminismos para reflejar, a través de imágenes, las cuestiones cercanas a las mujeres en la província de Piauí, Noreste de Brasil. El artículo describe, retrata y analiza las consecuencias del curso, entre polémicas, discriminaciones y consecuencias. Se destaca metodológicamente un abordaje cualitativo, a través de estudio de caso, con relato de actividades prácticas y sociales. El curso contó con la participación de militantes sociales, miembros de la comunidad en general, y miembros de los cuerpos discente y docente de la institución, entre mujeres y hombres. Los trabajos del curso culminaron con cinco exposiciones fotográficas, con casi 400 fotografías (entre las más de 15.000 hechas en las actividades prácticas) que deben circular en toda la província de Piauí y ayudar a desmitificar las cuestiones relacionadas al feminismo ya aclarar sobre la importancia del debate de esa discusión.
PALABRAS CLAVE: Comunicación Social; Extensión Universitaria; feminismos; Fotografía; Universidad Estatal de Piauí.
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Witkowska, Sylwia. "Polski feminizm - paradygmaty." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 194–241. http://dx.doi.org/10.5604/01.3001.0012.9855.
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The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The statement that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photography or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
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Looft, Ruxandra. "#girlgaze: photography, fourth wave feminism, and social media advocacy." Continuum 31, no. 6 (August 31, 2017): 892–902. http://dx.doi.org/10.1080/10304312.2017.1370539.
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Eggers, Tuane Maitê. "Descolonizando narrativas sobre mulheres: a fotografia como potência." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 470–503. http://dx.doi.org/10.22456/2596-0911.104554.
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As narrativas sobre mulheres, mesmo dentro dos estudos feministas, podem ser entendidas como normativas e colonizadoras, especialmente quando se dão a partir de um olhar ocidental sobre as mulheres do terceiro mundo. A partir da análise do pensamento da autora indiana Chandra Talpade Mohanty, este artigo busca relacionar seu discurso com exemplos de mulheres fotógrafas que buscaram desconstruir essa estrutura hierárquica do olhar, como Claudia Andujar, Graciela Iturbide, Nair Benedicto e Susan Meiselas, além das reflexões da artista interdisciplinar Grada Kilomba, em diálogo com outros autores do campo da imagem. A fotografia pode ser considerada, assim, uma ferramenta de escrita de novas narrativas de resistência.Palavras-chave: Feminismo. Fotografia. Mulheres fotógrafas. AbstractNarratives about women, even within feminist studies, can be understood as normative and colonizing, especially when they are done from a western perspective on third world women. Based on the analysis of the thought of Indian author Chandra Talpade Mohanty, this article seeks to relate her discourse to examples of female photographers who sought to deconstruct this hierarchical structure of the gaze, such as Claudia Andujar, Graciela Iturbide, Nair Benedicto and Susan Meiselas, in addition to the reflections of the interdisciplinary artist Grada Kilomba, in dialogue with other authors in the field of image. Photography can thus be considered a tool for writing new narratives of resistance.Keywords: Feminism. Photography. Women photographers.
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Correia, Maria da Luz, and Carla Cerqueira. "Interview with Ruth Rosengarten. “Feminist photography today is diverse and fairly elastic, rather than fixated on the old binaries”." Comunicação e Sociedade 32 (December 29, 2017): 501–6. http://dx.doi.org/10.17231/comsoc.32(2017).2776.
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Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.
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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.
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Gagliardi, Nancy. "Dieting in the Long Sixties: Constructing the Identity of the Modern American Dieter." Gastronomica 18, no. 3 (2018): 66–81. http://dx.doi.org/10.1525/gfc.2018.18.3.66.
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The gender narrative of the 1960s frequently focuses on the reemergence of feminism, yet a growing diet culture provides an alternate entry point for investigating the era and its gendered foodways. The growth of both movements also provides a new perspective on the consumer landscape and ideals regarding female dieting behaviors. To that end, this article interrogates advertisements for the popular appetite suppressant Ayds, the first to use before-and-after photography and a first-person narrative to detail a woman's weight-loss journey. Using Erving Goffman's frame analysis theory to examine gender while applying a feminist-inspired lens to the text, a female identity emerges. Called the Modern American Dieter, she was a woman trapped between a traditional past and the promise of a new, feminist-inspired future. Both worlds were shaped by the era's marketers, who created a modern dieting narrative (using commodity scientism and female empowerment) that still exists today to sell weight loss.
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Welland, Sasha Su-Ling. "Camouflaged Histories." positions: asia critique 28, no. 1 (February 1, 2020): 87–119. http://dx.doi.org/10.1215/10679847-7913067.
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Lei Yan 雷燕, whose artistic practice was shaped by a decades-long career in the Chinese military, began a period of transition through participation in a 2002 restaging of the Communist Red Army’s 1934 Long March as a multi-sited international art project. Her resulting encounter with US feminist art icon Judy Chicago raised questions about the potential neocolonial influence of global feminist art. The work Lei subsequently produced performs an autoethnographic excavation of the sociohistorical categories—woman soldier, military artist, and woman artist—that made her as both artist and woman. She works from within a national representational corpus, subjecting it to various experiments to reveal the fields of violence it has enacted from the Sino-Vietnamese War to the Great Sichuan earthquake. Lei Yan’s meditation through photography upon national, revolutionary iconography evolved into soft sculpture objects in cloth and paper. Their arrested ephemerality decenters the human subject, drawing attention to haunting absences in conventional stories of art, feminism, and nation. In comparison with the monumental work of Ai Weiwei 艾未未, who also created pieces in response to the 2008 Sichuan earthquake, Lei’s art serves not to admonish but to bring back into consciousness lost lives and camouflaged histories.
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Vron Ware Talks to Jo Littler. "Gender, race, class, ecology and peace." Soundings 75, no. 75 (September 1, 2020): 144–60. http://dx.doi.org/10.3898/soun.75.09.2020.
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In this interview Vron Ware discusses how her work has intertwined themes of 'gender, race, class, ecology and peace', as she put it in her book Beyond the Pale: White Women, Racism and History, published in 1992 - a time when 'talking about whiteness … was usually met by stony silence'. She relates this and her early work on gender and the National Front to more recent incarnations of gendered racism. The discussion moves over a wide range of subjects, including whiteness and the environmental movement, feminist statues and military monuments, the role of painting and photography in teaching and learning and how we might see futures beyond militarism. Ware reflects on ways in which the politics of 'gender, race, class, ecology and peace' formed part of her background in NGOs and campaigning organisations - including Searchlight, Friends of the Earth and the Women's Design Service. The same themes also run through her current project on re-thinking the category of the rural, which involves 'trying to think ecologically, in a way that sees interconnections between social, economic and cultural changes' - continuing the effort to join the dots between anti-racism, feminism, anti-militarism and eco-socialism.
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Foster, David William. "The antarctica photography of Adriana Lestido." INTERIN 25, no. 1 (December 6, 2019): 187–97. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp187-197.
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During early 2012, the Argentine photographer Adriana Lestido spent two months undertaking photography on the Argentine Peninsula of Antartica. Hers is the first systematic photography of the region, and it demonstrates the attempt to capture visually the fully range of that landscape. Our customary imaginary of the Antarctic landscape is very impoverished, one of ice and white snow, with some scattered fauna. Lestido’s systematic project reveals, by contrast, complex patterns of shifting climatic process and how shadow and light are far more complex than the conventional imaginary holds. A Guggenheim Foundation fellow, Lestido, who is known for her uncompromising photography of urban feminist social subjectivity, has, in a new phase of her work, turned to landscape photography and her Antarctica photographs constitute an highly original artistic undertaking to visualize how we might expand our understanding of the natural environment.
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Fair, Freda L. "Surveilling Social Difference: Black Women’s "Alley Work" in Industrializing Minneapolis." Surveillance & Society 15, no. 5 (December 5, 2017): 655–75. http://dx.doi.org/10.24908/ss.v15i5.6283.
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This article examines the arrest records of black women who worked as sex workers in downtown Minneapolis in the late 19th and early 20th centuries who were referred to as “alley workers.” I demonstrate the ways in which black women’s alley work documents the coming together of photography and surveillance as constitutive of the broader project of the modernization of police work through the procedures of standardization offered by the Bertillon System of Criminal Identification. I draw on women of color feminism, visual cultural studies, and critical race studies to analyze the alley work historical archive as a representational account of black women’s sexual regulation. My argument is that the Bertillon system’s attempts to categorize alley work functions as a strategy of surveillance that regulates black women’s economic and social difference. The police’s efforts to identify alley work as economically transgressive positions black sexual labor as an unruly site of social management in the context of industrializing Minneapolis.
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Raymond, Claire. "Can there be a feminist aesthetic?" Comunicação e Sociedade 32 (December 29, 2017): 45–57. http://dx.doi.org/10.17231/comsoc.32(2017).2750.
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Can there be a feminist aesthetic?” analyzes the difficulty of finding an ontological position from which to write about photography created by women. It interrogates the discomfort of inhabiting, socially, and in art and literature, the position of the embodied feminine, and seeks through aesthetic analysis to mine this discomfort. The essay argues that despite the social and intellectual discomfort of articulating a space of the feminine, in that this space is always already coded as oppressed, there is a value in interpreting photography created by women through the lens of feminist resistance. The article concedes that defining the word woman is always a risk, in that the term reflects manifold and contradictory embodied experiences. And yet, within this avowed risk emerges the only space of possible resistance to oppression, the opportunity to create a rearrangement of the visible so that the category of the oppressed woman, however phantasmatic, is re-envisioned as sovereign. However, each act of re-envisioning woman must be culturally specific. Hence, the essay concludes with an interpretation of Ethiopian photographer Aida Muluneh’s series of images Dinkinesh (or, “you are beautiful”), evoking the remains of an Ethiopian hominid that were long considered to be the oldest of human ancestors. Muluneh reclaims this distant ancestor as Ethiopian, dressing her in an extravagant red gown, using photography to re-envision Dinkinesh’s fall into history, granting this ancestor the power to haunt modernity.
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Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 85. http://dx.doi.org/10.25038/am.v0i19.316.
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This paper presents a criticism of the performance Merci Beaucoup, Blanco! by Michelle Mattiuzzi and the self-reflection on it published in the 32nd Biennial of São Paulo – “Live Uncertainty” (2016) – entitled Written Performance Photography Experiment. To this end, we emphasize the performance’s formal elements alongside aspects of the history of racist practices and theories in Brazil, in addition to the official historiography concerning the black population, which contextualize the feelings of pain and horror impregnating both the artist’s personal experience and her performance.Accordingly, the elements of this performance that can incite feelings of pleasure in the observer such as the resistance of black women and their political representation are analyzed in the field of art and culture. Lastly, to conclude, this paper argues about the possibilities of the performance’s fruition. This argument is based on the artist's text and certain constituent arguments of the feeling of the sublime’s concept, as presented by Edmund Burke, Immanuel Kant and Jean-François Lyotard.Considering an analogy with the aesthetics of the sublime, it is argued that Merci Beaucoup Blanco! gravitates in the atmosphere of horror, pain and shock, recalling/suggesting feelings of racial violence and discrimination still existing in Brazil. This performance of a black woman against racist oppression also constitutes an act of resistance of the artist, capable of awakening feelings of pleasure in their watchers. The public then moves from shock, pain and horror to contentment of the political consciousness of race, gender, and class. Article received: April 23, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019. Original scholarly paperHow to cite this article: Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies 19 (2019): 85-99. doi: 10.25038/am.v0i19.316
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Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.
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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography.
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Santo, Santo. "PERPADUAN SENI FOTOGRAFI DAN GAYA ART NOUVEAU." Jurnal Dimensi Seni Rupa dan Desain 15, no. 2 (February 1, 2019): 219. http://dx.doi.org/10.25105/dim.v15i2.5647.
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<strong>Abstract</strong><br />Feminine style inspiration in art media is built as one of the learning media in photography. The artistic concept of combining beauty / beauty with photography as one of the mediums of art. Photography is a medium that displays visual art, and artistic creation which are connected with the Art Nouveau style. Whereas, art nouveau is a design style featuring ornaments or decorations that embody a feminine impression. Through art nouveau photography, photography is displayed with digital techniques so that it can create a photography with a feminine impression.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Inspirasi gaya feminim dalam media seni dibangun sebagai salah satu media pembelajaran pada fotografi. Konsep artistik dalam menggabungkan sebuah keindahan / kecantikan dengan media fotografi sebagai salah satu medium seni. Fotografi adalah sebuah medium yang menampilkan seni visual, melalui kreasi artistik melalui fotografi sebagai medium dalam penciptaan fotografi dihubungkan dengan gaya Art Nouveau, dimana art nouveau adalah sebuah gaya desain yang menampilkan ornament atau hiasan yang mewujudkan kesan feminim. Melalui fotografi gaya art nouveau ditampilkan dengan tehnik digital sehingga dapat mewujudkan fotografi yang menampilkan keindahan dengan kesan feminim yang dapat dinikmati.<br /><br />
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Pierce, Rachel. "Pioneers and Feminisms." Digital Culture & Society 6, no. 2 (December 1, 2020): 87–114. http://dx.doi.org/10.14361/dcs-2020-0206.
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Abstract Feminist historiography is rife with debates about the nature and boundaries of women’s movements. Arguments over who to call an activist or a feminist sit at the heart of these definitional debates, which provide the groundwork for how scholars understand contemporary feminisms. Given the heated nature of ongoing disputes over the complicated identity politics of feminism and its archives, it is surprising that scholars have afforded so little attention to the technical infrastructure that defines and provides access to digitized primary source material, which is increasingly the foundation for contemporary historical research. Metadata plays an outsized role in these definitions, especially for photographic material that cannot be made word-searchable but is favored by digitizers because of its popularity. This article uses qualitative content analysis to examine how two digital archives define the Swedish suffrage movement - a historically contested concept, here understood through the theory of Susan Leigh Star as a “boundary object” subject to “interpretive flexibility”. The study uses keywords attached to photographic material from the the National Resource Library for Gender Studies (KvinnSam) and metadata within the related Swedish Women’s Biographical Lexicon platform for women’s biographies. The findings indicate that the hierarchies of archival organization do not disappear with individual document digitization and description. Instead, the silences built into physical archives are redefined in digital collections, obscuring the tensions between individual and movement feminisms, as well as the contested nature of movement boundaries.
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SHARANYA. "An Eye for an Eye: the Hapticality of Collaborative Photo-Performance in Native Women of South India." Theatre Research International 44, no. 02 (July 2019): 118–34. http://dx.doi.org/10.1017/s0307883319000014.
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This article examines the haptic politics of the Native Women of South India: Manners and Customs (2000–2004) ‘theatre museum’ composed by Indian performance artist Pushpamala N. and British photographer Clare Arni. Through a transnational collaboration, Native Women re-creates a visual genealogy of ‘popular’ Indian women images, reckoning with legacies of colonial and photographic studio photography. The article focuses on the engagements of Native Women with colonial representations of ‘the native’ (woman) in particular and asks: How does a transnational project resituating colonial ethnographic practices inform feminist performance methodologies? How does this photo-performance develop a haptic attempt at transnational solidarity? In what ways do haptic entanglements with photo-performance constitute new imaginations for collaborative practices? The article repositions Native Women as a performance work that reflects collaboration as a process of political intimacy.
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Troeller, Jordan. "Lucia Moholy's Idle Hands." October 172 (May 2020): 68–108. http://dx.doi.org/10.1162/octo_a_00393.
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At the time that she was affiliated with the Bauhaus, Lucia Moholy took a series of photographs at the nearby feminist commune of Schwarze Erde (also known as Schwarzerden), which was founded in 1923 by the poet Marie Buchhold and the pedagogue Elisabeth Vogler (and counted among its members Tilla Winz and Ilse Hoeborn). These photographs focus our attention on androgynous hands engaged in prosaic domestic tasks, as well as on the bodies of women and children involved in the commune's radical pedagogy of renewed bodily movement. The centrality of these images in Schwarzerden's publicity materials, along with their subsequent service as models for future photographs (most notably by Ruth Hallensleben), stands in contrast to the lack of appreciation Moholy received for performing similarly domestic labor for her male peers at the Bauhaus, including, above all, her husband, László Moholy-Nagy. By tracing the various ways in which idleness unfolds as a pictorial equivalent of housework, I argue that these images amount to a critique of an avant-garde photographic discourse that privileged “originality” and “production” over “documentation” and “reproduction.” Reading the photographs against the intention of their maker, who herself dismissed their “artistic value,” I propose that in mounting a challenge to artistic authorship, such images render visible the gendered contradictions of New Vision photography.
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Yang, Su Mi. "A Study on the Aesthetic Properties of Feminism Make-up in Cindy Sherman's Instagram Selfie." Journal of the Korean Society of Cosmetology 27, no. 4 (August 31, 2021): 998–1011. http://dx.doi.org/10.52660/jksc.2021.27.4.998.
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Feminism sheds light on women's identities in a variety of ways, along with criticism of gender discrimination and male-centered thinking. In particular, Cindy Sherman's selfie, known as a feminist photographer, expresses various women's images, showing a new identity of women. This study examined feminism makeup that expresses women's self-identification in the recent emergence of Me Too and feminism, and analyzed feminism makeup in Cindy Sherman's self-portrait to find out its aesthetic characteristics. First, the nature of Cindy Sherman's feminism makeup was expressed as dominant masculinity. Through various typical forms of beard, he strongly emphasized masculinity, and his eyebrows were thick and dark, and his facial contour was manly. The beard is a symbol of masculinity and a facial expression of social status and character, so Cindy Sherman actively expresses herself as a feminine figure with feminism makeup. Second, Cindy Sherman's characteristics of feminism makeup expressed the characteristics of benignity, which are caused by the confusion of femininity and masculinity. It emphasizes a positive image to exaggerate the image of a man with feminine features and a manly hairstyle and long, voluminous eyelashes. This positive image can also be seen in postmodernism Androgenus look or Genderless look, and is also the best characteristic of feminism makeup. Third, Cindy Sherman's feminism makeup characteristics had the characteristics of typistic femininity. She expresses her female identity through the image of a powerless and shabby woman by turning herself from a young movie star to an old woman. Fourth, Cindy Sherman's feminism makeup characteristics express the characteristics of detachment with ugly beauty. Such makeup is unstable in shape, and there are many distorted or modified images, but Cindy Sherman's selfies also showed this ugly look of herself. Fifth, Cindy Sherman's feminism makeup is bizarre and gives grotesque horror in the form of witches or vampires. Witches and vampires, who lack femininity, expressed feminism not in the image of women obedient to patriarchal men, but rather in horror. Sixth, Cindy Sherman's characteristic of feminism makeup is to portray herself as a clown or a clown, or a clown, to represent a caricature. Sherman's clown series is already well known for its makeup that shows feminism in women. The clown always smiles in the costume, but the inner figure symbolizes the repressed and sad woman herself and is an expression of Sherman's own image.
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Richardson, Ann-Marie. "‘The Consenting Silence’: Chaperoning the Orphan Sisterhood of Amy Levy's The Romance of a Shop." Victoriographies 9, no. 2 (July 2019): 147–64. http://dx.doi.org/10.3366/vic.2019.0339.
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The parentless child of nineteenth-century literature was designed to elicit an inherent sense of social responsibility in Victorian readers. The orphan inadvertently rejects the cultural ideology of the ideal home and therefore embodies society's worst fear. No longer belonging to a family unit, the child is left with an incomplete moral education. Chaperones and guardians are required to “rescue” the orphan from ignorance, and society from their disquieting presence. Amy Levy empathised with the orphan model due to her own sense of otherness, as a result of her race, religion, sexuality, and New Woman ideologies. Levy observed parallels between societal fear of the orphan and that of female agency. Subsequently, the recently orphaned Lorimer sisters of Levy's Romance of a Shop are of marriageable age, yet emancipate themselves from their matchmaking families, becoming each other's chaperones as they open a photography studio. Thus begins a narrative which attempts to reconcile the sisters' wish to quietly persevere in their vocation and voice their innate feminism. This article will explore how speech and silence are used to embody these sisters' torn loyalties to their gender and each other, examining how their shift in social status alters their dialogue and where their silence speaks volumes.
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Bentes, Ivanas. "Biopolítica feminista e estéticas subversivas." MATRIZes 11, no. 2 (August 31, 2017): 93. http://dx.doi.org/10.11606/issn.1982-8160.v11i2p93-109.
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The political and aesthetic issues that emerge from feminist activist practice, expressed in the case study that we are going to analyze: images/photographs/memes posted in the Instagram profile of the character/performer Ex-Miss Febem, created by the artist and activist Aleta Valente. In this context, we will reflect Beatriz Preciado’s notions of “gender technologies” and “counter-sexuality” in the construction of a post-feminism.
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Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (December 2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.
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The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art.
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Deb, Basuli. "Cutting across Imperial Feminisms toward Transnational Feminist Solidarities." Meridians 19, S1 (December 1, 2020): 484–507. http://dx.doi.org/10.1215/15366936-8566111.
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AbstractPhotography, not only by imperial men but also by imperial women, has played a significant role in portraying the Muslim woman as the apolitical exotic of orientalist fantasies, its legacies haunting the media of the global North even today. Imperial feminist representations about Muslim women have also marked the rhetoric of Hillary Clinton, Laura Bush, Cherie Booth, and Condoleezza Rice. In contrast, this article draws on various photographic counter-narratives, among them “the girl in the blue bra,” that transnational feminists circulated through social media during the 2011 people’s uprising in Egypt as well as on the iconic pan-Arab feminist leader Huda Shaarawi to evoke powerful images of Muslim women. Finally, the essay turns to transnational feminists such as Angela Davis, Trinh T. Minh-ha, Cynthia Enloe, Miriam Cooke, and Zillah Eisenstein for cross-border feminist work that cuts across imperial feminist practices.
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ELLIS, LEE, and SHYAMAL DAS. "SEX DIFFERENCES IN SMILING AND OTHER PHOTOGRAPHED TRAITS: A THEORETICAL ASSESSMENT." Journal of Biosocial Science 43, no. 3 (December 7, 2010): 345–51. http://dx.doi.org/10.1017/s0021932010000659.
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SummaryMany studies have shown that females smile more than males do in social situations. The present study extends this research by examining a large sample of high school yearbook photographs. In addition to assessing the degree of smiling, ratings were obtained of the following traits for each photograph: hair length, hair colour, masculine–feminine appearance and physical attractiveness. Results reconfirmed earlier research showing that females smile more than males do while they are being photographed. Other findings were that smiling was positively correlated with hair length, femininity and physical attractiveness for females but not for males. When a multivariate analysis was performed, none of these traits predicted smiling in males, and only femininity was significant in predicting smiling in females. Although social learning theories of smiling can account for some of these findings, a recently proposed neurohormonal theory seems to best explain why femininity is related to smiling in females but not in males.
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Sewali-Kirumira, Jane Namuyimbwa. "Living on the Margin:." Cultural and Pedagogical Inquiry 12, no. 1 (February 1, 2021): 37–51. http://dx.doi.org/10.18733/cpi29528.
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This article uncovers the hidden stepdaughter’s odyssey to Black African Feminism against the backdrop of Kigandan subservient womanhood and Euro-Canadian racism. The first section recounts early childhood experiences of an othered stepchild, followed by teenage anti-misogynist resistance to structural second-class citizenship in a majoritized boy’s school. Subsequent sections narratively capture the lived experiences of transitioning to racialized and subjugated Black womanhood in Germany and Canada, and the becoming of a proud Black African Anti-racist Feminist. Using personal photographs in the narratives makes the experience more present while the Luganda proverbs call forth the uniqueness of an African experience. This article uncovers different strategies of how a young Black African female combats multiple layers of Kigandan cultural subordination and systemic racism in order to excel as a professional immigration consultant and emerging anti-racism and Black feminism scholar.
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Ferret, Sandrine. "IRONIC STEREOTYPES: DESCREET FEMINISM OF NATACHA LESUEUR." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 136–46. http://dx.doi.org/10.5604/01.3001.0012.9833.
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Sandrine Ferret Ironic banalities: the discreet Feminism of Natacha Lesueur Natacha Lesueur is a French photographer, who discreetly conforms with the feminist tendencies, starting from her earliest works realized in the 1990s. Her first photographs depict compositions, in which fragments of the body, the head, the bust, the legs, etc., are adorned with intricately composed pieces of food, sometimes creating mysterious alphabets. The colour photographs are exceptionally painstainkingly processed – re- fined – and disorient the viewer with the vision of body fragments staged in weird situations. On the exhibition entitled White shadows, in the Marc Chagall Museum in Nice in 2014, Natacha Lesueur presented a work realized during several trips to Tahiti. Moved by the similarity of the Tahitian landscapes to her own shots, she would ask herself a question, how to use visual means to depict the reality in which the women and men of Tahiti lived, the reality so distant from the postcards which we all see in front of our eyes. Her choice included adopting these schematic representations as a starting point, together with introducing elements of destruction connected with colonisation, and especially with nuclear tests. She also considered vo- luptuous looks cast at young Tahitian women (wahine) by the colonizers. Playing with the Tahitian exoticism in an exaggerated way, underta- king strategic topics and perspectives (the landscape and wahine), Nata- cha Lesueur stages these subjects in order to introduce distortions into their perception. The light of the stroboscope lamp or red lighting make the viewers embarrassed, as they also perceive typical pictures from the well- known categories: the paradise lagoon, the lewd native, light flashes or overly erotic dance. Lesueur’s work criticises depictions of the Tahitian exoticism, with which it enters into a dispute, thus deconstructing it. The article analyses in detail two video films, Omaï and Upa Upa, shown during the exhibition mentioned. At the same time it attempts to answer the question, in what way, while making use of special lighting in her work, Natacha Lesueur utilizes the feminist methodology, whose aim is to deconstruct identity.
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Jane, Emma A. "‘Dude … stop the spread’: antagonism, agonism, and #manspreading on social media." International Journal of Cultural Studies 20, no. 5 (March 10, 2016): 459–75. http://dx.doi.org/10.1177/1367877916637151.
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Feminist campaigns on social media platforms have recently targeted ‘manspreading’ – a portmanteau describing men who sit in a way which fills multiple seats on public transport. Feminists claim this form of everyday sexism exemplifies male entitlement and have responded by posting candid online photographs of men caught manspreading. These ‘naming and shaming’ digilante strategies have been met with vitriolic responses from men’s rights activists. This article uses debates around manspreading to explore and appraise some key features of contemporary feminist activism online. Given the heat, amplification, and seemingly intractable nature of the argument, it investigates the usefulness of Chantal Mouffe’s agonistic pluralism to unpack the conflict. Ultimately, however, agonistic theory is found to have limits – in terms of this case study as well as more broadly. Some final thoughts are offered on how feminists might best navigate the pitfalls of online activism – including the problem of ‘false balance’ – going forward.
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Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.
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Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw on the writing of Laura U. Marks to bring a haptic quality to their photographic and collage interventions to the image, and in inviting the viewer to be touched by their images. Through this series of photographic collages, they have established a visual and tactile approach that utilizes the body, is collaborative and re-figures the power structures between model, photographer and viewer. Their images offer a way of rethinking and reshaping representations of the female nude.
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Lynn, Susan, Marie Hardin, and Kristie Walsdorf. "Selling (Out) the Sporting Woman: Advertising Images in Four Athletic Magazines." Journal of Sport Management 18, no. 4 (October 2004): 335–49. http://dx.doi.org/10.1123/jsm.18.4.335.
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This study examines the presentation of women in advertising photographs published in four women’s sports and fitness magazines in order to ascertain the presence of sexual difference and differentiate between advertising messages in the magazines. Researchers found strong support for sexual difference in advertisements contained in fitness-oriented magazines, and, at the other end of the spectrum, rejection of sexual difference in magazines that emphasized competitive sport. The advertising images generally provided mixed messages in regard to sexual difference. The authors suggest that the continued use of sexual difference in sport advertising images is a function of commodity feminism, which serves the capitalist hegemony. The authors discuss the need for visual representations that are truly feminist.
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Santos, Larissa Ramos dos. "AS MATRIARCAS DO AXÉ." Revista Relicário 7, no. 13 (March 6, 2021): 202–13. http://dx.doi.org/10.46731/relicario-v7n13-2020-160.
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Resumo
Entre os séculos XVI e XIX, a escravidão gerou um intenso fluxo de comércio de escravos entre o Brasil e a costa ocidental da África. Junto com as populações escravizadas, também foram trazidas para cá inúmeras tradições, costumes e diversas religiosidades; dentre elas o candomblé e a tradição social, dentre as nações nagô, da autonomia feminina. Essas mulheres autônomas na esfera social, africanas e descendentes delas, foram as grandes matriarcas do famoso candomblé baiano, que formado na diáspora, foi fotografado e estudado durante décadas pelo francês Pierre Fatumbi Verger. O presente trabalho propõe uma análise sobre a representação da figura feminina no candomblé, em algumas fotografias de Verger.
Palavras-chave: Diáspora. Representação. Mulheres.
Abstract
Between the 16th and 19th centuries, slavery generated an intense flow of slaves commerce between Brazil and the west coast of Africa. Along with the enslaved populations, many traditions, customs, and various religiosities have also been brought here; among them the Candomblé and the social tradition, among the Nagô nations, of feminine autonomy. These autonomous women in the social sphere, African and descendants of them, were the great matriarchs of the famous Bahian candomblé, photographed and studied for decades by Frenchman Pierre Fatumbi Verger. The present work proposes an analysis on the representation of the female figure in candomblé, in some of Verger’s photographs.
Keywords: Diaspora. Representation. Women.
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Chen, Tina Mai. "Gendered Globality as a Cold War Framework." positions: asia critique 28, no. 3 (August 1, 2020): 603–30. http://dx.doi.org/10.1215/10679847-8315153.
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Originally penned by Mao Zedong in 1961 as an inscription on a photograph of female militia, “Bu ai hongzhuang, ai wuzhuang” 不爱红妆爱武 装 (“They love their battle array, not silks and satins”) for many sums up a presumed erasure of femininity in favor of a universalized masculine subject position within socialist China. This article reconsiders the discursive work done by militarized female bodies—physically and representationally—focusing on alternative international and internationalist futures following the Sino-Soviet split of 1960. The article critically engages state-to-state relations and internationally circulating PRC-produced cultural material that articulated feminist ideals as part of Afro-Asian-Latin American solidarity. This article returns to well-known texts of Maoist China to rethink state-produced Chinese feminism as a Cold War framework and gendered globality. It shifts the analytic from Cold War dichotomies that legitimate what most scholars misrepresent as an insular Chinese socialist female subjectivity of the 1960s to focus on the complex global dimensions of Cold War socialist feminism.
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West, Caroline. "The Lean In Collection: Women, Work, and the Will to Represent." Open Cultural Studies 2, no. 1 (November 1, 2018): 430–39. http://dx.doi.org/10.1515/culture-2018-0039.
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Abstract In February 2014, Getty Images, the largest international stock photography agency, and LeanIn. org, Facebook COO Sheryl Sandberg’s women’s empowerment foundation, announced a new partnership that aimed to change the way women are portrayed in stock photography. The “Lean In Collection” with Getty seeks to challenge visual gendered stereotypes ascribed to both sexes in the daily life of work, home, and family life in advertising imagery. While the overarching ambition of gender empowerment implicit in the mission of Lean In is a worthwhile goal, I look to the problematic relationship rooted in the partnership between Lean In’s gender empowerment initiative and the role of Getty Images in trafficking aesthetic stereotypes for profit. Using methods of visual analysis and feminist critique, I argue that the photographs idealise a concept of female empowerment that is steeped in the rationale of neoliberal economics, which narrowly circumscribes gender citizenship according to the mandates of market logic. The Lean In Collection describes gender equality not as a right of citizenship procured by the state, but as a depoliticised and individualised negotiation.
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Iker, Annemarie. "Photographs of the “Dust of the Highway”: Georgiana Goddard King’s Way of Saint James." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 27–52. http://dx.doi.org/10.5195/contemp.2016.149.
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This article explores the use of photography in American art historian Georgiana Goddard King’s Way of Saint James (1920), a genre-defying book on the Camino de Santiago that intertwines art history with anthropology, literature, history, geography, and narrative. Despite King's groundbreaking scholarship on medieval Spain her legacy has been overshadowed by subsequent art historians, chief among them Arthur Kingsley Porter. Here, it is suggested that King’s emphasis on personal experiences of the pilgrimage—both historical and contemporary—diminished the value of her work, especially when compared with Porter’s supposedly ‘objective,’ ‘scientific’ studies. These methodological differences, visually manifest in King and Porter’s respective approaches to photographic evidence, have implications for medieval, historiographic, and feminist art historical inquiries.
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SIEG, KATRIN. "Identity Issues in German Feminist Movements and Theatre." Theatre Research International 37, no. 1 (January 26, 2012): 74–76. http://dx.doi.org/10.1017/s0307883311000800.
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Identity politics, understood as the analysis of the ways in which social roles are inscribed on the body, affects and behaviour, and in which collective experiences of oppression also produce resistant practices, informed German feminisms and performances during the 1980s and early 1990s. Since then, major feminist playwrights have shifted into literary production, or abandoned gender as their central critical concern in view of other urgent issues that arose after reunification, including historical revisionism, economic restructuring, rising racism and xenophobia, and globalization fears. Younger white artists playfully unbundled gender and sex and supported the postfeminist consensus that feminist identity politics had become obsolete. The work of Bridge Markland, which can be found on YouTube, emblematizes a burgeoning transgender and drag culture that was transnationalized through film, video, photography exhibitions and workshops. In this critical vacuum, immigrant and minority women were saddled with intensifying, ever more essentialist discourses of gender and ethnic difference, and continued to grapple with them through deconstructive and historicizing, as well as essentializing, deployments of identity.
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Bonapfel, Elizabeth M. "Reading Publicity Photographs through the Elizabeth Robins Archive: How Images of the Actress and the Queen Constructed a New Sexual Ideal." Theatre Survey 57, no. 1 (December 9, 2015): 109–31. http://dx.doi.org/10.1017/s0040557415000587.
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In this article, I trace the origins of the normalization of pornographic tropes as the new sexual ideal in contemporary visual culture to late nineteenth- and early twentieth-century publicity photos of actresses and monarchs by examining one prominent transatlantic actress's collection of publicity photos, the Elizabeth Robins Papers at the Fales Library at New York University. As I show, around the turn of the twentieth century, a new standard of idealized feminine beauty was produced by the combination of two contradictory images of celebrity: the distant decorum of the monarch and the perceived erotic sexuality of the actress. The mass production of publicity photographs, which took the form of cartes-de-visite in the 1860s and cabinet photos in the 1870s, broadened the spectrum of sexuality by positioning these two quintessential celebrity types—the actress and the monarch—in relation to the tableau vivant and to existing and emerging tropes of portraiture. The image of the actress existed in relation to several mutually dependent discourses in the late nineteenth and early twentieth centuries: the rise of photography in relation to other art forms; the rise of theatrical spectacle in relation to advertising, consumerism, and fashion; the rise of women's public role in relation to sexuality, the body, and beauty culture; and the paradoxical democratization of celebrity culture as related to the monarchy. All of these factors center on a figure who lived so vividly in the public imaginary that she could be found in multiple spaces: on the stage, in stationers’ shops, on postcards, in newspapers, in photograph albums.
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Perna, Raffaella. "Another Measure: Photography and Feminist Art in Italy." Photography and Culture 13, no. 1 (November 25, 2019): 107–28. http://dx.doi.org/10.1080/17514517.2019.1684131.
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Alves de Oliveira, Andreia, and Steve Edwards. "We Need More Documentary, and We Need More than Documentary: Interview with Art Historian Steve Edwards." Cabinet, Vol. 2, no. 2 (2017): 32–39. http://dx.doi.org/10.47659/m3.032.int.
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Steve Edwards teaches history and theory of photography and is a fiery, self-described “radical from a working-class background”, “post-Trotskyist” and “socialist feminist”, who reads “Marx and more Marx”. We met in 2016 in Lisbon at an academic conference on Photography and the Left, where he was one of the keynote speakers. Edwards’ paper tracked the changes in relation to the Left and the documentary movement in Britain from the 1970s to the present day, his argument consisting in that documentary and social class are closely entwined. This interview, done at Birkbeck, University of London, which he joined as a Professor at the beginning of this academic year, revisits the main themes of what was, in many ways, an enlightening and inspiring talk. Using the two terms – Photography and the Left – to frame and anchor the discussion, our exchange covers Edwards’ political education, the 1970s emergence of a key period in visual theory and subsequent mutations in political visual practice, up to its present status in a neoliberal society and the forms and intellectual basis of contemporary resistance to it. Although the exchange is centred on the British context, it is done so, however, with total awareness of it being an instance among others of documentary photography’s many global manifestations. It is with these manifestations that this interview aims to enter into dialogue, through its publication in a magazine with a global audience such as Membrana’s.
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Onfray, Stéphany. "Hudging, Nicole [2020]. The Gender of Photography: How Masculine and Feminine Values Shaped the History of Nineteenth-Century Photography." IMAGO. Revista de Emblemática y Cultura Visual, no. 12 (January 28, 2021): 163. http://dx.doi.org/10.7203/imago.12.17503.
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Recensión del libro:
Hudgins, Nicole [2020]. The Gender of Photography: How Masculine and Feminine Values Shaped the History of Nineteenth-Century Photography. Londres: Bloomsbury Publishing PLC.
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Blanchard, Lara C. W. "Defining a Female Subjectivity." positions: asia critique 28, no. 1 (February 1, 2020): 177–205. http://dx.doi.org/10.1215/10679847-7913106.
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Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorporates multiple female gazes: not only that of the artist but also those of the subjects, who look at each other and at their own mirror reflections. Female Writer, a diptych consisting of a photograph and painting of the writer Zhao Bo, recalls paintings from the “beautiful women” genre. Though both photograph and painting reflect Yu Hong’s point of view, Zhao Bo was permitted to select her photograph, and thus the work engages with both author’s and subject’s gaze. Ladies’ Room and Female Writer both reclaim female subjectivity as they present images of contemporary Chinese women while also grappling with problems of authenticity, the public/private dichotomy, identity, and self-expression.
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Skelly, Julia. "The Phantasmagoric World of Thierry Mugler." Fashion Studies 2, no. 1 (2019): 1–13. http://dx.doi.org/10.38055/fs020108.
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This review of Thierry Mugler: Couturissime approaches the exhibition through a feminist art-historical lens and attends to the various ways that both Mugler’s clothing and the Montreal Museum of Fine Arts’ curatorial team has framed and constructed the powerful, threatening woman as a complex figure who is hard, cold, sensual, strong, hard-working, and spectacular, among many other valences. The exhibition, which had its world premiere at the MMFA in March 2019, is organized as a fashion opera in six acts, and each room illuminates disparate yet interconnected parts of Mugler’s body of work: his costumes for a 1985 performance of Macbeth in Paris; the decadent and excessive clothing worn and worshipped by past and present celebrities; the black-and-white power dressing that Helmut Newton and others have canonized in fashion photography; the astounding creations inspired by insects and reptiles; and finally, the cyborgian fembots that have been presented in both Vogue and music videos. The inclusion of photographs and videos — not a new strategy in blockbuster fashion exhibitions — is essential to the success of Thierry Mugler: Couturissime, as they reveal that while these clothes are works of art, they were made to be worn and mobilized. Although not explicitly a feminist exhibition, for viewers who are looking for feminist, political inspiration wherever they can find it Mugler’s warrior women and formidable clothing — whether made of metal, latex or feathers — provide a powerful reminder that clothing is just one of the many weapons in our arsenal.
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Eileraas, Karina. "Reframing the Colonial Gaze: Photography, Ownership, and Feminist Resistance." MLN 118, no. 4 (2003): 807–40. http://dx.doi.org/10.1353/mln.2003.0074.
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Klorman-Eraqi, Na’ama. "The Hackney Flashers: Photography as a Socialist Feminist Endeavour." Photography and Culture 10, no. 1 (January 2, 2017): 53–71. http://dx.doi.org/10.1080/17514517.2017.1295710.
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Demori. "Corporeal Identities, Maternal Artivism: A New Decolonial Approach to the Study of Latin American Women Artists." Arts 8, no. 4 (October 18, 2019): 137. http://dx.doi.org/10.3390/arts8040137.
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Stemming from Grosfoguel’s decolonial discourse, and particularly his enquiry on how to steer away from the alternative between Eurocentric universalism and third world fundamentalism in the production of knowledge, this article aims to respond to this query in relation to the field of the art produced by Latin American women artists in the past four decades. It does so by investigating the decolonial approach advanced by third world feminism (particularly scholar Chandra Talpade Mohanty) and by rescuing it from—what I reckon to be—a methodological impasse. It proposes to resolve such an issue by reclaiming transnational feminism as a way out from what I see as a fundamentalist and essentialist tactic. Following from a theoretically and methodological introduction, this essay analyzes the practice of Cuban-born artist Marta María Pérez Bravo, specifically looking at the photographic series Para Concebir (1985–1986); it proposes a decolonial reading of her work, which merges third world feminism’s nation-based approach with a transnational outlook, hence giving justice to the migration of goods, ideas, and people that Ella Shohat sees as deeply characterizing the contemporary cultural background. Finally, this article claims that Pérez Bravo’s oeuvre offers the visual articulation of a decolonial strategy, concurrently combining global with local concerns.
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Liu, Jui-Ch’i. "Beholding the Feminine Sublime: Lee Miller’s War Photography." Signs: Journal of Women in Culture and Society 40, no. 2 (January 2015): 308–19. http://dx.doi.org/10.1086/678242.
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Gourieva, Maria. "Constructing the Feminine in Late Soviet Private Photography." Photography and Culture 13, no. 3-4 (March 10, 2020): 369–83. http://dx.doi.org/10.1080/17514517.2020.1720062.
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Keary, Anne. "Feminist Genealogical Methodologies." Feminist Theology 21, no. 2 (December 17, 2012): 126–44. http://dx.doi.org/10.1177/0966735012462839.
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This paper describes the multi-methodological approach employed in a partial, situated, contingent and interpretive feminist political analysis of Catholic mothers and daughters. The study draws on a number of sources including transcripts of mother-daughter interviews, autobiographical anecdotes, photographs, music, icons of Catholicism and poetry. It is argued in this paper that a feminist multi-methodological approach is valuable to feminist research as it disrupts the linear and logocentric construct of traditional social science research. Moreover, a multi-methodological and multi-sourced approach opens up sites so that the mothers and daughters in this study could be positioned within specific histories and contexts, and provided with a space so that as women they could reconstruct themselves as self-referential subjects.
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Fontcuberta, Joan. "IZAS, RABIZAS Y COLIPOTERRAS: UN ÀLBUM FURTIU." Catalan Review 18, no. 1-2 (January 1, 2004): 181–90. http://dx.doi.org/10.3828/catr.18.1-2.12.
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This essay examines the work of Joan Colom, a Catalan photographer who has come to receive a welter of honors, including the National Prize in Photography, but whose career has been anything but easy and uninterrupted. Colom’s fame derives largely from Izas, rabizas y colipoterras, a photo-book produced in collaboration with Camilo José Cela that focuses on the prostitutes of the Barri Xino of Barcelona and that quickly acquired a cult status among members of the “divine left” critical of Franco’s morally smug regime. Addressing tensions between amateurism and professionalism, art and documentation, the studio and the street, and the image and the word, Fontcuberta presents Colom’s work as a radiography in which the camera serves as an instrument of political critique and the vibrancy and sordidness of street life come to the fore. Inimitable as the book is, it nonetheless allows for productive comparisons with more recent, feminist inflected work on streets, streetwalkers, and sex workers from beyond Barcelona: Susan Meiselas’s Carnival Strippers; Elisabeth B’s Das ist ja zum Peepen; Merry Alpern’s Dirty Windows, and Erika Langley’s The Lusty Lady.
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SCHVEITZER, ANA CAROLINA. "FOTOGRAFIA E ALTERIDADE FEMININA NA LITERATURA COLONIAL ESCRITA POR ALEMáƒS." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (December 28, 2016): 177–91. http://dx.doi.org/10.18817/ot.v13i22.554.
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O colonialismo alemão foi uma experiência de poucas décadas, de 1884 a 1914. Neste peráodo, o desenvolvimento da tecnologia fotográfica, como a invenção e difusão da máquina portátil, possibilitou a propagação e o uso de fotografias nas colônias europeias em áfrica. Logo, diferentes imagens sobre estas regiões foram produzidas e circularam em contexto colonial, promovendo um conhecimento visual a respeito do continente africano. Esta pesquisa tem por objetivo analisar de que modo as imagens de mulheres africanas foram mobilizadas para a construção do conhecimento visual nos anos de colonialismo. Para tanto, foram analisadas fotografias publicadas na literatura colonial escrita por mulheres alemãs. O estudo do circuito social dessas fotografias permitiu refletir acerca da alteridade feminina em contexto colonial alemãoPalavras-chave: Colonialismo alemão. Conhecimento visual. Mulheres.PHOTOGRAPHY AND FEMALE OTHERNESS IN THE COLONIAL LITERATURE BY GERMAN WOMEN WRITERSAbstract: The German colonialism was an experience of a few decades, from 1884 to 1914. In this period, the development of photographic technology, as well as the invention and spread of the portable machine, enabled the diffusion and the use of photographs in the European colonies in Africa. Consequently, different images of the regions were produced and circulated into the colonial context, providing a new visual knowledge of the African continent. This research aims to analyse how the images of African women were used for the construction of this visual knowledge during the period of colonialism. Therefore, it”™s been analysed photographs which were published into the colonial literature written by German women. The study of the social circuit of these photographs made it possible to reflect on the female otherness inside the German colonial context. Keywords: German colonialism. Visual knowledge. Women. Fotografáa y alteridad femenina en la literatura colonial escrita por mujeres alemanasResumen: El colonialismo alemán fue una experiencia de pocas décadas, de 1884 a 1914. Durante este peráodo, el desarrollo de la tecnologáa fotográfica, como la invención y difusión de la máquina portátil, permitió el uso de las fotografáas en las colonias europeas en áfrica. Por lo tanto, diferentes imágenes de estas regiones fueron producidas y distribuidas en el contexto colonial, proporcionando un conocimiento visual del continente africano. Esta investigación propone analizar cómo las imágenes de las mujeres africanas fueron movilizadas para la construcción del conocimiento visual en los años de colonialismo. Asá, fueron seleccionadas y analizadas las fotografáas publicadas en la literatura colonial escrita por mujeres alemanas. El estudio del circuito social de estas fotografáas permitió reflexionar sobre la alteridad femenina en el contexto colonial alemán.Palabras clave: Colonialismo alemán. Conocimiento visual. Mujeres.
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Martin, Noelle, Alicia C. Garcia, and Beverly Leipert. "Photovoice and Its Potential Use In Nutrition and Dietetic Research." Canadian Journal of Dietetic Practice and Research 71, no. 2 (July 2010): 93–97. http://dx.doi.org/10.3148/71.2.2010.93.
Full textAbstract:
Photovoice is an innovative qualitative method of participatory action research based on health promotion principles; however, it has not been used to its full potential in health care, particularly in nutrition and dietetics. Photovoice is also based upon the theoretical literature on education for critical consciousness, feminist theory, and community-based approaches to documentary photography. Participants take photographs representing their views on a specific topic and discuss them in a group process of critical reflection. Originally designed for research with rural women, Photovoice has been used with a variety of population groups throughout the lifespan, such as adolescents, nurses and nursing students, professional groups, Aboriginal women, the elderly, immigrant and low-income groups, and patients with a variety of diseases. The use of Photovoice as a research method is not restricted by health conditions, financial situation, employment status, or literacy level. It is used in community settings, professional practice, or institutional learning environments to explore participants’ views and opinions. We review studies in which Photovoice has been used, as well as the impacts, advantages, limitations, and ethics of its use. Gaps in knowledge and its potential use in nutrition and dietetic research are identified.